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Die Meistersinger at the theatre in which it was premiered, on
Wagner’s birthday: an inviting prospect by any standards, still more so
given the director, conductor, and cast, still more so given the opportunity to
see three different productions within little more than a couple of
Opera houses’ neglect of Janáček remains one of the most baffling of the many baffling aspects of the ‘repertoire’. At least three of the composer’s operas would be perfect introductions to the art form: Jenůfa, Katya Kabanova, or The Cunning Little Vixen would surely hook most for life. From the House of the Dead might do likewise for someone of a rather different disposition, sceptical of opera’s claims and conventions.
Director Annabel Arden believes that Rossini’s Il barbiere di Siviglia is ‘all about playfulness, theatricality, light and movement’. It’s certainly ‘about’ those things and they are, as Arden suggests, ‘based in the music’.
George Enescu’s Oedipe was premiered in Paris 1936 but it has taken 80 years for the opera to reach the stage of Covent Garden. This production by Àlex Ollé (a member of the Catalan theatrical group, La Fura Dels Baus) and Valentina Carrasco, which arrives in London via La Monnaie where it was presented in 2011, was eagerly awaited and did not disappoint.
Lyric Opera of Chicago staged Charles Gounod’s Roméo et Juliette as the last opera in its current subscription season.
‘The plot is perhaps the least moral in all opera; wrong triumphs in the name of love and we are not expected to mind.’
Anthony Minghella’s production of Madame Butterfly for ENO is
wearing well. First seen in 2005, it is now being aired for the sixth time and is still, as I observed in 2013, ‘a breath-taking visual banquet’.
This concert version of La straniera felt like a compulsory musicology field trip, but it had enough vocal flashes to lobby for more frequent performances of this midway Bellini.
As poetry is the harmony of words, so music is that of notes; and as poetry is a rise above prose and oratory, so is music the exaltation of poetry.
From experiments with musique concrète in the 1940s, to the
Minimalists’ explorations into tape-loop effects in the 1960s, via the
appearance of hip-hop in the 1970s and its subsequent influence on electronic
dance music in the 1980s, to digital production methods today,
‘sampling’ techniques have been employed by musicians working in
genres as diverse as jazz fusion, psychedelic rock and classical music.
On May 7, 2016, San Diego Opera presented the West Coast premiere of Great Scott, an opera by Terrence McNally and Jake Heggie. McNally’s original libretto pokes fun at everything from football to bel canto period opera. It includes snippets of nineteenth century tunes as well as Heggie's own bel canto writing.
A foiled abduction, a castle-threatening inferno, romantic infatuation, guilt-laden near-suicide, gun-shots and knife-blows: Andrea Leone Tottola’s libretto for Vincenzo Bellini’s first opera, Adelson e Salvini, certainly does not lack dramatic incident.
Opera as an art form has never shied away from the grittier shadows of life. Nor has Manitoba Opera, with its recent past productions dealing with torture, incest, murder and desperate political prisoners still so tragically relevant today.
Published in 1855 as an entertainment for his two daughters, William Makepeace Thackeray’s The Rose and the Ring is a burlesque fairy-tale whose plot — to the author’s wilful delight, perhaps — defies summation and elucidation.
What more fitting memorial for composer Peter Maxwell Davies (d. 03/14/2016) than a splendid performance of The Lighthouse, the third of his eight works for the stage.
I suspect that many of those at the Wigmore Hall for The King’s
Consort’s performance of the La Senna festeggiante (The
Rejoicing Seine) were lured by the cachet of ‘Antonio Vivaldi’ and
further enticed by the notion of a lover’s serenade at which the generic
term ‘serenata’ seems to hint.
Having enjoyed superb singing by a young cast of soloists in Classical
Opera’s UK premiere of Jommelli’s Il Vogoleso the
previous evening, I was delighted that the 2016 Kathleen Ferrier Awards Final
at the Wigmore Hall confirmed the strength and depth of talent possessed by the
young singers studying in and emerging from our academies and conservatoires.
On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.
Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.
London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.
23 Aug 2009
The bravura performance by Ferruccio Furlanetto in the title role is spoiled by the kitschy and incoherent staging of this production. Mefistofele is unique among operas based on the Faust legend in that it rather closely adheres to Goethe’s version.
Indeed, the original, no longer extant,
version of this work was approximately six hours in length. Even in the
severely truncated revised version, Mefistofele has always proven
itself to be a serious work, with a libretto that (like Busoni’s
Doktor Faust) has some real literary merit. Unfortunately, following
the reigning spirit of Regieoper in Europe, director Miguel Del Monaco
and set designer Carlo Centolavigna have all but denuded this great opera of
its serious intent.
Opting for a 20th-century setting (which in and of itself is not a problem),
the “creative” team behind this production has missed the central
point of Boito’s (and by extension, Goethe’s) drama, namely, the
age-old Platonic opposition of the real and the ideal, in this case,
represented by the Margherita/Elena (Helen of Troy) duality. While the
ever-reliable Dimitra Theodossiou is afforded the opportunity to continue the
tradition of performing both roles, the intention behind this appears to be
economic rather than dramatic.
Act I is set in Frankfurt during Easter Sunday, but it is in the Germany of
the 1920s, not during Martin Luther’s time. This is at best a
questionable tactic because the seemingly peaceful interregnum of the Weimar
Republic had such terrible consequences in the following decades. Overloading
the already heavily-laden symbolism of the Faust legend with the tragedy of
modern German history helps to obscure Faust’s personal dilemma. Adding
to the incoherence of the staging, Del Monaco then proves not to have the
courage of his convictions by at least being consistent with the historical
implications of his staging of Act I, and sets Act IV, the Night of the
Classical Sabbath, in Las Vegas. Helen of Troy is reduced to being a showgirl
in a tawdry stage show and her attendant Nymphs reminded me of the June Taylor
Dancers who used to open the Jackie Gleason TV Show of the 1960s with overhead
shots featuring kaleidoscopic choreography.
The ultimate consequence of this staging of Mefistofele is that the
characters of Faust and Margherita/Elena are reduced to mere appendages of
Mefistofele’s mercurial personality. One of the problems with this opera
has always been the overshadowing of Faust and Margherita by Mefistofele. Del
Monaco’s staging has exacerbated tenfold this dramatic disparity.
The one saving grace of this production is Ferruccio Furlanetto’s
Mefistofele. His performance incorporates a spectacular bass voice with
animated acting. The acting, at times, may appear to be a bit over the top, but
it is forgivable given the imbecility of the staging. Indeed,
Furlanetto’s performance helps to divert attention away from the visual
and back to the musical, and for that we must be grateful.
To be charitable to the performers, I thought that the singers and orchestra
performed rather well, but at times it was difficult to gauge this accurately
since this DVD suffers from very poor balance. Even allowing for the recording
difficulties inherent in a live performance, there is really no excuse in this
day and age for a professionally recorded DVD to have such poor audio
This DVD will have appeal mostly to fans of Ferruccio Furlanetto. My advice
is to turn off the video and listen to the voice.
William E. Grim